I spend ages recreating a sound in the insstrument editor and I just wasn’t able to do it .
The sound was fairly simple ,a fast filter attack of about 7ms from minimum to max and a fast decay from max to almost zero …about 10 ms .
The filter attack/decay of the original sound defined the overall character , aware of the fact that every filter has a different scaling / character , I did’t expect renoise filters to sound the same , but I assumed that the envelope would at least be able to achieve the same contour .
I used the points envelope set to time mode , because in essence all the other envelopes are simplified point envelopes (under the hood) .
The filters were never able to reach their full cut off point , when using the envelope .
When creating a filter envelope ( in time mode ) that goes from 0–>1
during a hold period of 20 ms., the filter isn’t going to it’s maximum value (fully opened ).
For short/ high range env.modulations , the envelop alone is not enough to achieve this , it has be used with an operator for further upward scaling .
But this is no solution either .
Consider the following scenario :
We have a envelope with fast changes (range below 30 ms) and wide mod.range , and some parts of the envelope with relatively slow changes and medium mod.depth .
By inserting an operator afterwards , the scaling is also applied to those (slow/moderate) sections of the envelope that were accurate and are now extended beyond their intended reach ; so
we manually have to adjust all the sections that don’t need scaling …which makes it well …not pleasant to work with .
To make things worse , when are there are many repeating fast changes ( spike shaped) …inserting muliple scaling operators is sometimes necessary
I know that the envelope is tempo dependent ,but the difference is huge ;
It might as well be a combination of the tempo dependent behaviour of the envelopes and the iterpolation of points and filter cut off smoothing …which I suspect is a standard 20 ms ’ in the instr.editor ), I am aware that a certain degree of smoothing is necessary to avoid clicks
Same applies to the instr.editor’s ring mod’s pitch , at verry fast env.changes the max frequency of 8khz is never reached ( combination of r.M.pitch smoothing and envelope interpolation )
Bottom line is , even when the envelope appears to be at full max range , the number of points and the time span of this max range will decide whether the envelope will output max values .
Some might say that 20ms is way to short to be noticeable etc, but it’s not …applied to filter cut off , a short full range attack has a noticeable impact .
I don’t know if this is even remotely possible for future versions , but an instr.envelope that operates at the global sample rate would be awesome , independant from tpl and bpm … (altough syncing would be nice )
Were we don’t have rely on the nr.of ( neighbouring) points to create full max .fast changes .
It spits out what you enter , sample accurate , for zap zap bassdrums and yadie yadie etc …
We don’t necessarily need a microscopic sample/zoom level .
In other words , what you see is what you get ,
A minimum value of 0.5 ms per point ( 22 samples ) would be great .
Yes ultra fast evelopes introduce clicks , and for those that don’t want clicks , just draw more points